Sunday, June 20, 2010

Gilt Groupe styles runway for everyday


Racks upon racks of designer clothes line the most unlikely warehouse inside the industrial Brooklyn Navy Yard, swarming with chic models, stylists, photographers and makeup artists.

Hundreds of pairs of covetable shoes, handbags and belts are lined up neatly on nearby shelves to be parsed out to seven photo studios that buzz nonstop from 8 a.m. to 1 a.m. every single day.

This space belongs to Gilt Groupe, a sample sale website that converts often avant garde runway looks into reality — bought and worn by regular folks who feel comfortable dropping a load of money, even with the discount, on things they can't see, let alone try on.

Through their expansive photo shoots, new ones posted each day at noon, Gilt has to bring clothes to life, explains company co-founder Alexandra Wilkis Wilson. Otherwise, she says, the garments literally lie flat.

"This is about the purchase that's highly emotional," she says. "We want you to be swept away. We want it to have all the visual cues, show you how to wear it, how you might transform yourself."

"None of this," she says, pointing to the vast office and commotion of people, "would happen if it was done on a hanger."

Sample sales — with garments askew on hangers if not tossed haphazardly in cartons — aren't uncommon in a place like New York. It's a way for designers to subtly sell off inventory to a basically pre-selected crowd since they're mostly advertised by word of mouth in neighborhoods where stylish consumers live or work.

Typical shoppers probably already have an appreciation for the more fashion-forward items that seem to be left over at the end of the season, and they'll figure out how to make these pieces work in their already eclectic wardrobes.

But Gilt, which invites new members through existing users, opens up this little secret to many more people — more than 1 million shoppers a month — some of whom might not know quite what to do with a magenta Christian Lacroix bell-shaped cocktail frock, for example.

"We have to answer the question, `How do I translate Chloe to Pasadena, California, or Marni in Fort Lauderdale (Fla.)?'" explains co-founder Alexis Maybank.

Longtime friends Maybank and Wilson launched Gilt in 2007, building on their combined career experience in e-commerce and fashion. Their gut, they say, told them that there was a broader audience out there for runway clothes, even if the appetite didn't extend to runway style.

On a recent day, Gilt plucked four runway looks and interpreted them for everyday life:

_Strapless Lacroix cocktail dress with cascade of bows down the front and bubble hem.

No doubt, the hot pink color is intimidating, says womenswear stylist Tammy Eckenswiller, and the silhouette could be too — especially if you only saw it on a hanger.

Seeing it on a body, even a model's body, helps a shopper picture what it might look in person, she adds. "It's actually a forgiving dress, and a great color for a party."

Eckenswiller grabs some peep-toe shoe-booties with towering heels and a black chunky collarlike necklace as accessories. "By rooting it in black, it makes most of us feel more comfortable. It's a very bare neckline, so it's fun to put on a statement necklace, and most people already have black shoes."

The substantial accessories dress down the dress so it doesn't have to be worn only to a fancy black-tie event, Eckenswiller says. She says she could imagine this look at a gallery opening, a cocktail party, even to dinner — if you tossed over the shoulders a black boyfriend blazer.

_Ann Demeulemeester purple men's blazer with rows of ruffles down the front.

For mass appeal, this jacket needs to be toned down and paired with something conservative, menswear stylist Seth Howard advises, suggesting a classic white button-down shirt and a gray flannel tie. A plain gray V-neck sweater provides extra contrast to the somewhat flashy piece, he says.

With dark denim jeans and gray lace-up shoes, he says, this is an outfit that goes from day-to-night, something often talked about in a woman's wardrobe but something men need, too.

_Marbled gray leather jacket by Odyn Vovk.

This men's jacket has a short, fitted shape, which, says Howard, risks looking feminine. Khaki pants and a ribbed white tank help "beef it up." With a button-down shirt and dress shoes, this can even be worn to work, he says, and it goes with jeans for weekends.

"This is probably for someone in L.A. or a metro environment, but everyone loves leather. It's actually a simple jacket, just the cut is a little unusual."

_Carolina Herrera red-and-black lace overlay sheath dress.

Even though the dress is flat-out wearable, it can be a little "too uptown" for some women, Eckenswiller says. The addition of a black Valentino coat with a laser-cut lace bottom gives it edge without going over the top.

The cluster of black around the bodice has a corsetlike slimming effect, while the contrast of the black and red against white creates enough visual interest that jewelry and makeup can be kept to a minimum, she says.

Again, this dress is paired with a black shoe, the most relatable option. But don't fall into rut, either, particularly at this level of designer clothes, Eckenswiller says. "These are about aspirational pieces. Don't be afraid of being bold."

Haider Ackermann's Japanese Pirate Couture

There was a rare fashion moment in Florence on Wednesday, June 16, in a storied Renaissance palazzo, when Haider Ackermann presented a true rarity in the industry, a collection of men's couture, of highly unique, customized clothes.

And, the Japanese pirate meets rocker combination, the first ever menswear presented by Ackermann, looks like being highly influential. That's not to say that millions of men are going to start dressing like a cross between Johnny Depp and Keith Richards. But one suspects this designer's choice of patchwork fabrics from India, pajama pants, silky shirts and bizarre seat belts, that looked pinched from a business class flight, will filter into many guy's wardrobe.

Entitled "Opium, Wardrobe for Men…. & Women," the show - a gala event at Pitti, the giant menswear trade show - contained clothes for both men and women for the spring 2011 season.

Ackermann, a Colombian-born designer whose women's runway show have, in the past few seasons, come to be regarded as a top ten must-see in the Paris season where he normally shows, employed his signature sculptural look for both men and women.

"It's the same aesthetic. Though maybe the woman is more poetic and the man more of an adventurer. After all, he is pursuing the lady," the designer said backstage after the show.

In a brilliant piece of staging, the production team hung a series of huge chandeliers in the night sky above the courtyard of Palazzo Corsini, a magnificent baroque palace on the banks of the Arno. Pre-show, the designer had laid out a huge feast, just as a spectacle, inside the palazzo, whose amazing ground floor frescoes have a ghostly damaged appeal, the result of the waters that flowed through the building in November 1966 when the Arno overflowed its banks.

Ackermann had clearly tailored his look for the setting, sending out glitzy scarves and Moroccan style slippers, in feathered finishes that recalled the colors of the opulent frescoes. And, getting ex-model and torch singer Jamie Bochert to accompany the show on a grand piano with a cellist and violinist playing Bob Dylan's "Knockin' on Heaven's Door," was an inspired idea.

Jackets cut like Asian wrestler outfits, double lapel coats in Goa-style patchworks, Scarlet Pimpernel striped tops or dhoti cut trousers that finished three-inches above the ankle all made for an exotic mood. Worn on a great casting of unshaven models, this was an audacious take on men's fashion. And it was proper couture, rather than just luxury ready-to-wear.

"I want to be clear that I am not launching a menswear division. We'll make these clothes for special order and maybe a few boutiques that have always stocked our women's wear. It was more an interesting challenge than anything else," said Ackermann.

Taylor Swift, Billy Joel Perform at Songwriters Hall of Fame Ceremony


Award-winning producers, songwriters and performers gathered Thursday night, June 17, in New York, to honor and be honored at the 41st Annual Songwriters Hall of Fame induction ceremony.

The evening included a performance by Taylor Swift, who received the Hal David Starlight Award. Swift performed to a star-studded audience, including Hall of Fame inductees Leonard Cohen and Jackie DeShannon. Kim Carnes, Elizabeth Withers, and Nikki Yanofsky were also in attendance.

Piano man Billy Joel was on hand to induct his producer, Phil Ramone, and to take part in a special ensemble performance that paid tribute to Paul Simon's classic single "Bridge Over Troubled Water," and also featured Brian Stokes Mitchell, Phil Collins, and Judy Collins.

The 18-year-old Filipina phenom Charice, who looked thrilled and a little overwhelmed, showed up in support of her producer and mentor David Foster, who was being inducted and recognized for a long career of achievements, including 44 Grammy nominations. A native of British Columbia, Foster's credits include Toni Braxton's "Unbreak My Heart," as well as the launching careers of artists like Celine Dion and Michael Buble.

Foster has recently revealed to Oprah that he has accepted Charice's request to be her godfather. "He's one of the most important people who actually helped me from the very beginning," Charice told Entertainment Tonight.

Lesbians get real on TV's "Real L Word"

Jill is a "nice Jewish girl" who is planning her wedding. Rose is a long-haired Latina who has a problem with commitment, and tattooed Mikey is a domineering fashion show producer with a heart of gold.

They also are lesbians and are among the stars of the first lesbian-themed TV reality show on a mainstream U.S. cable channel.

Making its highly-anticipated debut on Sunday, "The Real L Word" is a spin-off of the groundbreaking 2004-2009 Showtime drama series "The L Word" that portrayed the love lives of a group of lesbians in an explicit manner never before seen on U.S. television.

But that was fiction -- albeit rooted in the experiences of "L Word" creator Ilene Chaikin -- and the six Los Angeles women featured in the new show, also on Showtime, are real.

"One of the things I was asked constantly (about 'The L Word') was 'is that true? Are there really lesbians like that?'," Chaikin told Reuters.

"To some extent this show answers that question in the affirmative...Just like all women, lesbians come in many different packages and these women may tell you something that you wouldn't have thought before about who a lesbian is."

Promoted as a show sizzling with sex and lovely ladies, "The Real L Word" arrives at a time when lesbians have been making headlines but are still more under-represented in U.S. pop culture even than gay men.

In the past two months, country singer Chely Wright and Christian singer Jennifer Knapp came out after years of hiding their sexuality in careers seen as hostile to gay culture.

A U.S. study in June found that being raised by two mothers does not hinder the healthy psychological development of kids.

This July, "The Kids Are All Right" -- a comedy movie starring Julianne Moore and Annette Bening as a lesbian couple -- hits theaters as one of the most widely-anticipated U.S. independent films of the summer film season.

STILL STRUGGLING FOR POP CULTURE KUDOS

Yet five years after the love story of gay cowboys won three Oscars for "Brokeback Mountain", there were just four lesbian characters on U.S. network TV shows this season, none of which were leads, according to the Gay and Lesbian Alliance Against Defamation.

"I had hoped and maybe expected that we would be a little bit more present in the pop culture than we are right now. But I am confident that it is changing," Chaikin said, noting that most minorities are under-represented in Hollywood.

However Chaiken says she has always been more interested in storytelling than using her shows to promote sexual politics.

"I set out to tell stories, not to change stereotypes. But if one effect is to challenge stereotypes, that is a lovely thing," she said.

As for the sex in "The Real L Word" -- and there is plenty -- Chaikin noted that sexual preference is part of what differentiates lesbians.

"It's not 'I am going to be sexy and explicit and push the envelope'", she said. "It's 'I'm in a world telling stories and for a network that allows me to go places...and that makes the stories that much richer."

She said producers worked hard to weed out mere attention seekers in the casting process. "It was truly challenging to find six aspirational women who were comfortable enough in front of the cameras to share their lives with us, but who weren't simply looking to promote themselves in a vulgar way."

Veteran Hollywood publicist Howard Bragman, who guided Chely Wright during her coming out in May, said anticipation was high in the wider gay community for "The Real L Word" and for the future portrayal of gay characters.

"I hope we can have interesting gay and lesbian and transgender characters without them being stereotypes. We watch too many gay pride parades, and we think it's either gay guys in gold lame' thongs, or dykes on bikes.

"So I hope this show will send the message that we are a lot more diverse than that. People are going to start to realize that we have the same problems and challenges as anyone else -- money, family and in-laws," he said.

Jil Sander's Psychedelic Designs


If any message emerged from three days this week in Florence at Pitti, the world's leading menswear trade show, it's that men will be wearing mega bright, high-tech colors next spring, especially if they shop at Jil Sander, which staged a gala show here Thursday, June 17.

Using a combination of colors such as electric violet, shiny orange, Aegean turquoise, Sander's creative designer Raf Simons whipped up a Pop Art ensemble that dazzled the eyes, even though it was staged at night.

Staged in the strikingly beautiful gardens of Villa Gamberaia, a late 18th century neoclassic villa east of Florence, the show featured 45 models wandering around the bushes and intricate pathways before walking down an 80-yard lawn.

Simons pulled no punches when it came to brights; he even color co-ordinated outfits with shoes whose soles were in fiery red or indigo blue. Nor did he hesitate when it came to advanced fabrics - between high-tech waterproof cottons and nylon taffeta.

His show underlined a major trend here - bright 1960s hippie flower power looks, though updated by modern technology. For instance, Simons showed several great white shirts with outrageously large single floral prints, which on closer inspection turned out be amalgams of several flowers, like roses or orchids, morphed together in a photo computer program.

Simons is also an extremely savvy tailor, alternating between floating technical trench coats in geranium and light yet super structured jackets in iris where stripes of silver duct tape added cool details and functional rigidity. Plus his glistening zigzag stripe jerseys looked like sure commercial hits.

Milan menswear opens out, in anniversary mood

Designers such as Italian duo Dolce & Gabbana and Belgian Dirk Bikkembergs are hoping to lure crisis-hit shoppers back by staging fashion events in Milan's most popular squares.

Male models and celebrities strut catwalks and red carpets in more than 30 shows and dozens of showroom collections during the Milan spring/summer 2011 fashion week, which runs until Tuesday and takes place amid timid signs of economic recovery.

Sales of tailored suits, ties and leather shoes declined by 11.3 percent to 8 billion euros ($9.91 billion) in 2009, one of the worst years ever for Italian menswear, said Sistema Moda Italia, a body representing Italy's clothing and textile industry.

However, wealthy spenders were back in the shops in the first months of the year and should help raise global luxury sales by more than 4 percent in 2010, according to U.S. consultancy Bain and Co.

"This edition will be particularly important to assess the pace of recovery, which is certainly under way, but whose vigor has to be strengthened," Mario Boselli, president of Italy's National Chamber of Fashion, said in a statement.

The image of Italy's fashion capital, competing with cities such as London, Paris and New York, will enjoy a boost from significant anniversaries marked by Ermenegildo Zegna and Dolce & Gabbana.

However, a shadow was cast over the shows by the death of a catwalk model, 22-year-old Frenchman Tom Nicon, whose body was found in the courtyard of a building in central Milan Friday. Police said they were investigating.

GLAMOUR AND TRADITION

Dolce & Gabbana celebrated the 20th anniversary of their menswear line with an exhibition at the City Hall, in front of La Scala opera house.

"We want as many people as possible at our exhibition, we want Mr Brambilla (a typical Milanese name) to come and see our history," Domenico Dolce told a joint news conference with Milan's Mayor Letizia Moratti Friday.

Glamour and tradition mingled at the duo's celebratory show, with extra-light washed silk jackets and sweaters in woven jute inspired by Sicilian sensuality.

Models in classic and traditional summertime suits cheered a performance by British singer Annie Lennox and Hollywood was represented by stars such as Rachel Weisz, Morgan Freeman and Matthew McConaughey.

Zegna, which celebrates its 100th birthday this year, hosts an exhibition on the importance of style.

In an unofficial kickoff Friday, Bikkembergs showed on a big screen in central Duomo Square, a popular tourist spot, its South Africa-inspired "sport couture" collection.

The fashion industry, with an annual turnover of about 100 billion euros, is central to Italy's economy.

Turnover for the sector fell by 15 percent last year to 56.5 billion euros. An improvement is forecast for this year.

Calvin Klein's Capes for Cool Guys


The design leader of the modernist moment in men's fashion today is surely Italo Zucchelli, an Italian designing for Calvin Klein, where he evokes the energy, hard edges and technical crowded life of urban citizens for this American brand.

It was instructive that in a Milan season where so many other designers are showing colonial chic with rumpled linen suits and blazers in jute, Zucchelli presented taut, frequently cropped clothes with hard high-tech finishes, albeit in a spring 2011 collection leavened with sportswear touches.

"Graphic, clean, strong, New York!" trumpeted Zucchelli after the show on Saturday, June 19.

Though Italy is suffering floods and Milan heavy rains, Zucchelli is envisaging a balmy summer next year. So much so, many sweatshirts were cropped half way up the chest, the better to see the models' six-pack abdomen. Severeal of these feature logos, though even the Calvin was cut in half. Part sweatshirt, part micro cape, the garment would be impossible to wear without a flat stomach, but a cool look if one is gym rat buffed.

Many super shiny materials had an almost circuit board attitude finish, achieved by spraying or bleaching cottons.

Zucchelli cuts his tailored clothing with a scalpel. His are not outfits for the overweight, but by being so strict with his silhouette he only adds to the sense of high-tech dandy, which is the major theme of this designer.

Technology aside, a favorite look, however, was a great suit in black and white plaid, though with the check so huge it looked almost like an abstract painting. It had sass and cool swagger, just like this innovative collection.

Alexander McQueen sticks to British roots


The Alexander McQueen fashion house presented its first menswear collection following the designer's death, drawing on archives and the fashion house's British roots in a bid for continuity.

But not everyone stuck close to familiar territory on the second day of men's fashion week Sunday: Giorgio Armani presented a surprisingly edgy and militaristic/borderline S&M line for next summer. In a diametrically opposite look for the season, Gianfranco Ferre's young designing pair looked to India, Japan and China for a relaxed, easy-to-wear collection cut largely of linen and silk.

ALEXANDER MCQUEEN

Alexander McQueen's spring/summer 2011 collection was the first solo outing for Sarah Burton, who has worked with the fashion house for 16 years and was named creative director last month. The fashion house may still be seeking its emotional footing since McQueen's suicide in February but found firm stylistic ground in the aristocratic and military tradition of Savile row tailoring district and shopping street.

The collection hits a range of historical notes, from World War I Tommies to uppercrust Eaton schoolboys. "This is the England of Alexander McQueen, a place of eclectic historical and cultural references," the fashion house said in a release.

There were classic trench coats of superlight fabric, over stretch tweed military-style leggings, and linen jackets paired with skinny pants that defy their slim fit with cargo pockets.

The color range was mostly neutrals, grays and tans, with flashes of red and orange that burst through in one rich red velvet jacket over wide-leg silk trousers with an Oriental print, roomy loungwear.

Shirts ran the gamut from an easy Nehru collar, or wide, stiff Eton-collar shirts that give new meaning to the phrase buttoned-up.

The collection's highlight was an evening suit that faded from a shimmery silver to gray, giving the effect of a spotlight shining from above, with roomy trousers rolled up at the heel.

Rather than a glitzy show, the collection was presented in a lower-key presentation deemed more appropriate to the circumstances that ended with Sir Edward Elgar's "Pomp and Circumstance."

EMPORIO ARMANI

For his second line Emporio Armani, Giorgio Armani strode unshrinking into the leather-clad world depicted in Lady Gaga's "Alejandro" video, which was fully referenced at the end of the show when a parade of Emporio models dressed in black leather military gear from the caps on their heads to the lace-up boots marched across the runway.

No relaxed summer look for the Emporio Armani man: He's clad in leather and wearing chains, or maybe a mesh metal scarf.

"Maybe this is not something we expect to see from Emporio Armani," the designer said after the show. The collection is something youths would "happily wear for their nocturnal wanderings in search of fun," Armani said.

Armani took elements that have become wardrobe standards and put in a contemporary twist, pairing Bermuda shorts with leggings, and updating camouflage with cool city colors, including putty, beige and gray.

There was lots of leather — pants, short-sleeve shirts, gilets with cap sleeves and jackets that might be laser-cut or given an animal print including fish scales and a tortoise.

For the beach, there were black brief swim suits over top crocodile-print lycra leggings and one-piece bathing suits reminiscent of Sacha Baron Cohen's "Bruno" but less whimsical and definitely not fluorescent.

GIANFRANCO FERRE'

At the other end of the fashion spectrum, GianFranco Ferre's young design team of Tommaso Aquilano and Roberto Rimondi sought inspiration in the Orient, with references from China, India and Japan in their spring/summer collection.

Lightweight shirts were collarless, or high-collared with buttons in the back, paired with loose trousers or Bermuda shorts. Floppy broad-brimmed hats provided ample sun protection on a safari or in a rice paddy.

For forays into the city, there were three-piece suits and for the evening a tuxedo in silk shantung, cream with black lapels and tie.

The collection features soothing colors of powder green to sand khaki to sky blue and intense lapis lazuli.

BOTTEGA VENETA

The Bottega Veneta man is on the go, and his destination could well be the tropics.

His wardrobe is easy to pack — wrinkles are part of the look — and the range is from guerrilla chic, say olive green garb of lightweight fabric with strategic pockets, to easy-fitting suits that can be slipped on for a gin-and-tonic at an embassy cocktail party.

Shoes have sturdy soles — as he never knows what to expect.

"The collection is about performance and possibility, about what happens when you combine materials and techniques in new ways," designer Tomas Maier said in notes.

Versace: Carnaby Street Rockin' Gents


There was a major change in focus at the house of Versace, where the models, mood, materials and method were all radically altered in the spring 2011 men's runway collection by this label.

Where before Versace's runway male models were like hunky, macho types, this Saturday in Milan they were nearer to Indie band guitarists, altogether artier more sensitive figures.

The collection presented in Versace's custom-built theater was also a long way from the biker chic of recent Versace men's shows. Featuring lots of skinny pants and short jackets, the clothes referenced the optimistic days of 1960s Britain, the kind of looks young men bought on London's famed shopping street, Carnaby Street.

Motorbike jackets with chains and metal frills, and rock band tuxedos with lots of contrasting piping on the lapels summed up the new mood. Pants were taught at the ankle, few models wore socks.

One also had to admire the completeness of the Versace wardrobe that extended to a snappy finale where graphic black-and-white zigzag prints were used in silk boxers, pajamas and patrician dressing gowns.

"I wanted a whole new casting and a fresher younger take for men," said Donatella Versace, attired in a black sleeveless leather sheath in the post-show backstage.

Also impressing were two-tone rocker shoes, in mixes of faux black crocodile and faded gray suede, cut in that pointy shape, which British shoemakers refer to as winkle-pickers. There were lots of silvery waistcoats, and red-and-black stripe jackets, very theatrical, but always plausible.

A faintly ruffian air wafted through the whole proceedings, with just the right amount of rebellious rocker looks to tempt a new, younger customer into Versace stores.

Thursday, June 10, 2010

Ungaro hires Giles Deacon as creative dir.

Struggling French fashion house Emanuel Ungaro says it has hired British designer Giles Deacon as creative director.

The appointment comes in the wake of a wave of recent defections from the Paris-based label, which in recent months has seen the departures of its former CEO, the designers for both the women's and men's labels, and its short-lived artistic adviser, Lindsay Lohan.

Deacon is a graduate of the prestigious Central Saint Martins school of design and has had his own critically acclaimed label since 2004.

The appointment, announced Tuesday, makes Deacon the latest in a long series of designers to take a stab at turning around Ungaro, which has been bleeding money since the retirement of its founder and namesake in 2004.


Americans prove world-beaters in tennis fashion show


It's been eight years since America produced a French Open women's champion, but they're proving winners when it comes to turning heads with their wacky wardrobes.

Venus Williams appeared for her first-round match wearing a black, lacy outfit with red trimming, a plunging neckline and flesh-coloured underwear that kept photographers busy.

Many observers wondered whether the world number two had confused Roland Garros with the Moulin Rouge.

"The outfit is about illusion, and that's been a lot of my motif this year, illusion," explained the 30-year-old to mystified journalists, mainly men.

"These days I just have a lot of fun with my designs and designing and doing different things."

How many of these outfits does she bring to events?

"Probably about eight to 10. I do recycle. I'm not superstitious, but I bring enough just for the back-up plan."

Not to be outdone, sister Serena, the last American champion in Paris in 2002, once wore a black catsuit on court.

On her way to winning the Australian Open this year, the world number one donned a yellow dress with flesh-coloured underwear and said that she too was concentrating on 'illusions'.

"I just sketched it out. The whole idea is just about the illusion that I?m wearing a deep V-neck. Then the idea was to wear shorts that were like the same colour as my skin. It works very well, apparently," she said at the time.

But the Williams sisters have serious competition in the fashion stakes at the French Open in the shape of Bethanie Mattek-Sands, who once played at Wimbledon Centre Court wearing white football socks and a boob-tube.

She has also donned leopard print outfits while also once appearing with a cowboy hat, which cost her a 10,000-dollar fine from the authorities.

On Tuesday, Mattek-Sands played her first-round match at the French Open wearing a pink shirt, black skirt and knee-high black socks before springing to the defence of Venus Williams.

"She's got a lot of crap for it, but it makes tennis interesting," said Mattek-Sands.

"You can't say it's OK for Maria Sharapova but it's not OK for Venus.

"I think it's great. If you see two blonde-haired girls wearing the same outfits, it's really hard for the fans to tell them apart."

Mattek-Sands says she will be sticking to the socks for the rest of the year, but with different colours for different occasions.

She insists her style is becoming more conservative.

"Your dress often depends on which tournament you are in and who is the supervisor, some are more lenient than others," she said. "For a while I had to get all of my clothes approved."

Despite her colourful dress sense, offset by an extravagant tattoo on the inside of her right upper-arm, Mattek-Sands is married to an insurance executive.

'Sex and the City 2': Can 40+ dress fabulous?

There's a telling scene early in "Sex and the City 2" when 52-year-old Samantha, played by 53-year-old Kim Cattrall, spots a gold, beaded bustier minidress that she thinks will be perfect for a big red-carpet moment.

The saleswoman is the first doubter. "Is it maybe a little young?" she asks.

Carrie, Samantha, Charlotte and Miranda have fashion confidence like few others — on film or in real life. But the sequined armor these women wear along with their microminis, harem pants and stiletto heels suffers a few chinks over one issue: Do they dress their age?

Samantha's friends question the minidress, too. But an even more important movie moment is when Samantha rocks the dress, putting conventionalists and teenager Miley Cyrus, who is on the same red carpet in the same dress, in their place.

Throughout the movie the posse parades around in the most au courant clothes, seemingly not deterred at all by the fact that designers often use lithe, lean teenage runway models as muses instead of the 40-plus successful shopaholics the characters now represent.

Some of the outfits are knockouts and incredibly flattering — like the pleated, flame-colored sundress worn by Carrie (Sarah Jessica Parker) on the beach, and the plunging V-neck gown with metallic studs worn by Miranda (Cynthia Nixon) to a wedding — but there also are the misses.

It shouldn't be assumed, though, that Charlotte's (Kristin Davis) dorky strapless candy-cane get-up or Carrie's ill-conceived logo-T-and-poufy-ballskirt combination would look any better on a 25 year old.

"I think it's all about where the individual is in what they are comfortable and confident wearing," says accessories designer Brian Atwood, who crafted two pairs of 6-inch heels for Carrie's closet, including studded, purple-suede peeptoes. "I don't like to dictate boundaries to anyone. . I think it's the whole package. I've seen older women in their '80s-style rhinestone jackets with short miniskirts, but anyone would look ridiculous in that."

A chic, sophisticated stiletto is another story, Atwood says. "Some women just like high heels. They help give you great legs and they give you height. Women like how they feel in heels and what it projects."

An honest analysis of one's assets — and trouble spots — as well as lifestyle and personal style will get you farther in developing a flattering, appropriate wardrobe than counting birthday candles, say the experts.

"You need to know what parts of your body should be shown off," advises Deborah Lloyd, co-president and creative director of Kate Spade New York. The actresses in "Sex and the City" surely work hard at keeping their figures in good shape so they can pull off some daring things, she says, but they also stay true to their characters' fashion personalities.

Lloyd points to first lady Michelle Obama as an example of a woman who highlights her strengths — those toned arms, in particular — and maintains a youthful, modern look with interesting silhouettes and bright colors, while never trying to dress too young. "Fashion as you get older is about an evolution, not just about changing your look because you're older. You can't get stuck," Lloyd says.

"It will never be an exact science on how to dress to flatter as we age, regardless of lifestyle and budget," says Avril Graham, executive fashion editor at Harper's Bazaar. "However, women should always consider that elegance and good taste generally go hand in hand, regardless of age. And common sense should always prevail. The best dressed women, past and present, all seem to have embraced that sensibility."

Charla Krupp, author of the books "How Not To Look Old" and "How To Never Look Fat Again," draws a sharp line between fashion-forward and trashy. Tops that are too low cut, skirts that are too short, dresses that are too tight are fashion don'ts — period, Krupp says.

But, she notes, the reality of getting older is that what's considered the appropriate neckline or hemline is indeed a little more covered up.

"You don't want to be so obvious. I'm not saying you can't be sexy when you're older — Sarah Jessica Parker succeeds in this, and so does the Miranda character," Krupp says. "They are classy, grown-up, sophisticated and sexy women. What you don't want is to look like you raided daughter's closet."

Also, steer clear of anything too trendy, advises Atwood. "You've already done that in your life."

Graham, however, doesn't want women to be afraid of fashion or trying something new. "Strict guidelines and formality are very much a thing of the past. Women of every age and budget have more choices to have freedom of expression with their clothing choices and arguably it has resulted in women having a more youthful appearance than previous generations at the same age."

House of McQueen names new creative director

NEW YORK – The house of Alexander McQueen has named Sarah Burton, a longtime colleague of the late designer, to be the new creative director of the brand.

In a statement from London released Thursday, Burton said she intends "to stay true to his legacy" by turning out "modern beautifully crafted clothes."

The announcement was part of a series of shake-ups announced Thursday. At luxury label Hermes, womenswear artistic director Jean Paul Gaultier is being replaced by Lacoste's Christophe Lemaire. And Theory confirms a Women's Wear Daily report that Olivier Theyskens, formerly of Nina Ricci and Rochas, will design a capsule collection for next year.

McQueen, hailed as a creative genius in the fashion world, committed suicide in his London apartment in February.

Burton joined McQueen's company in 1996, a year before graduating Central Saint Martins College of Art and Design. She most recently served as head of design for womenswear.

Parent company Gucci Group said that because Burton worked so closely with McQueen she has "the vision necessary to take it forward."

"As a business we remain absolutely committed to the Alexander McQueen company which has proved to have a strong customer loyalty and has shown to be a resilient brand in the aftermath of the tragic loss of its founder," said Gucci Group GEO Robert Polet.

Susan Cernek, Glamour's senior online fashion and beauty editor, said hiring from within was respectful to McQueen — and kind to any designer who would be trying to fill such big shoes.

"It seems like a smart move to appoint someone who worked so closely with him," she said. "Someone from the outside might be in an uncomfortable position to try to channel someone who is so revered so soon after he passed away. ... Seemingly the vision that Sarah will bring will be really closely aligned, not his, but closely aligned."

She adds: "It's hard to reinterpret the legacy of a house when it's not your name and you don't have the padding of time."

Gaultier and Hermes are not completely severing their ties. Gaultier will oversee the spring-summer 2011 collection to be previewed in October, and Lemaire will take over for the fall-winter 2011 collection.

Hermes also holds a 45 percent in Gaultier's namesake house.

Calling their seven-year partnership fruitful, Hermes said in a statement the collaboration was ending to allow Gaultier "to concentrate on his own projects."

Gaultier has always toned down for Hermes the drama associated with his own line and the edgy costumes he designs for pop stars such as Madonna. But his collections for the former saddlemaker — still known best for its leather goods — garnered consistent critical acclaim.